Sentence examples for audio score from inspiring English sources

The phrase "audio score" is correct and usable in written English.
It can be used to refer to a musical composition or sound design created for a specific visual media, such as a film, video game, or advertisement.
Example: "The audio score for the film was composed by a renowned musician, enhancing the emotional impact of the scenes."
Alternatives: "soundtrack" or "musical score".

Exact(2)

Mr. Alonso described it as an "audio score" for digital comics, but it is not a looping soundtrack.

The incidental noise from the cards, books and newspaper forms an audio score, now louder and more rhythmic.

Similar(58)

It's here that audio scores, with Anton Lesser's enthralling voice conveying every nuance of Matthew's humanity.

Placing 75,000 test calls among various phone services, Keynote found that not only were Comcast's audio scores superior to those of Vonage, but that Comcast also scored higher than even AT&T's landline service.

(But don't they always?) Though the four choreographers this year were all over the map stylistically, serendipity gave the Thursday night opening several common features: collage audio scores, dancers rearranging other dancers' limbs, and a whole lot of shaking.

The audio scores presented in Figure 2 were thus computed over all video conditions.

They reported similar video quality ratings for both contexts, but the MOS range of the audio scores was significantly reduced for the interactive situation.

However, this effect was weak in comparison to the impact of the experiment and only affected the differences in audio scores between both experimental contexts toward low audio quality levels (La1 and La2).

Scatter plot of the subjective audio scores with their 95% confidence intervals obtained for different levels of audio quality in Exp. 1 and Exp. 2. For the passive context, several audio quality levels did not significantly differ according to a post hoc test: levels La2, La3, and La4 when compared to each other, and La4 compared to La5 (Scheffé, p>0.05).

The authors showed that a strict alignment between audio and score is not necessary when note co-occurrences, which are the same in the score and audio signal, are exploited.

Extracting both harmonic and percussive sound sources is useful for remixing and for audio to score alignment [13].

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